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Founded In Naples, Italy, In The 1970s, Collezionetaurisano Is An International Contemporary Art Collection Gathering Artworks By Italian, European And International Artists.
Today,collezionetaurisano Is Both An Art Platform And An Affective Community. It Distinguishes Itself By Its Defense Of Humanist Values And Esthetics Of Resistance.
The Collection Favors Commitment In Artistic Practices, By Thinking And Fighting Against New Conditions Of Domination At The Time Of Post-capitalism. We Do Not Set The Artwork Against The Life Of Art. We Do Not Think That The Artwork Is Besides Isolated From The Social World. We Believe In Responsibility. We Believe In The Attention We Pay To The Others.
01Artist of the month

Alejandra Hernández (1989, Bogotá, Colombia)

Completed a bachelor in Visual Arts at La Javeriana University, Bogotá in 2011, after graduating, moved to Belgium and did a MFA in painting at KASK School of Arts, Ghent (2012-2014). In 2016, finished a two year residency program at HISK (Higher Institute for Fine Arts) also in Ghent, where she graduated as a candidate laureate. From 2017 she is working between countries, traveling, researching and living in different contexts. The nomadic journey became a major interest in her practice which is mainly focused in human relationships, relations with the natural world, on the self as well as on the others, this practice is enriched by getting to know different cultures, religions, traditions, art and crafts, which she often combines, depicting situations in otherworldly realms. On the other hands she has an ongoing project which consists in painting live portraits of people she meets. This would be the more mundane branch of her work, rooted in experience and in being present with the other. Slowly these different ways of perceiving start to merge as a mirror of the inner-spiritual world and the outer-physical one. A mélange of the possible universes and dream- like characters in her portraits are simply a reflection of the self, of the time we live in as well as of those things that make us all human and which go beyond the social constructs that insist on generating divisions and feelings of otherness among people.

Live portraits
Naked portraits
Monotypes & prints



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Protestors gathered outside Warsaw‘s National Museum and ate bananas to protest against what they called government censorship, after an artwork featuring the fruit was removed under claims it was improper.

The 1973 video installation Consumer Art, by Natalia LL, depicts a young woman eating the fruit. It had been a part of the National Museum’s display for many years, but was removed last week after the new museum head, Jerzy Miziolek, was summoned to the Ministry of Culture.

Artists and opposition politicians supported the protest by posting images of themselves eating bananas. Actress Magdalena Cielecka posed for a photo where she pointed a banana at her head like a gun, telling the Associated Press: “An artist, to create, must be free.”

Another 2005 video, by Katarzyna Kozyra, showing a woman walking two men, dressed as dogs, on a lead, was also removed.

Mr Miziolek, who was appointed by the right-wing government last November, told the portal that he was “opposed to showing works that could irritate sensitive young people” and suggested there had been visitor complaints.

He said he appreciated the role of both artists in Polish culture, but that the gallery’s limited space required “creative changes” to its displays.

On Monday, Mr Miziolek announced that the works would be reinstated, but only until 6 May, when the whole museum was due for reorganisation. He denied that there was any pressure on the museum to return the artworks.

Culture Minister Piotr Glinski has faced repeated criticism in the past, including for cutting subsidies to art festivals that planned to show controversial plays with Catholic themes, firing a popular theatre director who criticised him, and firing the director of a World War II museum under claims its displays did not show Poland’s suffering or heroism enough.


Leonardo-mania is sweeping the world as we enter the 500th anniversary year of the Renaissance master’s death. As museums around the world are preparing blockbuster exhibitions to coincide with the milestone anniversary, insights into the artist’s life and practice have begun to surface left and right, from his ambidexterity to his rendering of the “nude Mona Lisa.”

The latest discovery, revealed on Wednesday by the Royal Collection Trust, is not a work by the master but a work depicting him. Martin Clayton, head of prints and drawings at the Royal Collection Trust, identified a drawing in its holdings as a portrait of Leonardo most likely executed by one of his assistants. There is only one other known portraitof the artist made during his lifetime.

The casual sketch was drafted on a piece of paper also containing a study by Leonardo of a horse’s leg done in preparation for an equestrian monument. The only other known portrait of Leonardo is a far more austere and impersonal rendering drawn by one of his pupils, Francesco Melzi, at roughly the same time as the newly discovered sketch. The contrast between the two works makes this rendering, which provides a personal and private glimpse into the artist, all the more insightful.

A sketch of Leonardo da Vinci, the head of a youth, and a horse's legs, and A portrait of Leonardo, attributed to Francesco Melzi, in the Print Room, Windsor Castle. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.

A sketch of Leonardo da Vinci, the head of a youth, and a horse's legs, and A portrait of Leonardo, attributed to Francesco Melzi, in the Print Room, Windsor Castle. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.

In a statement, Clayton said:

Alongside Melzi’s portrait, this is the only other contemporary likeness of Leonardo. In the sketch, he is aged about 65 and appears a little melancholy and world-weary. However, the presence of the portrait alongside studies for another grand equestrian monument shows that Leonardo’s ambitions remained undimmed in later life.

Clayton also noted how the exceptional nature of Leonardo’s facial hair was key in identifying the artist. Stopping just shy of crediting him with a contemporaneous resurgence in beards’ popularity, he said: “Leonardo was renowned for his well-kept and luxuriant beard, at a time when relatively few men were bearded—though the beard was rapidly coming into fashion at this time.”

The image is believed to have been drawn shortly before Leonardo’s death in 1519. It will be displayed for the first time in a show titled “Leonardo da Vinci: A Life In Drawing,” which will run from May 24th to October 13th at the Queen’s Gallery at Buckingham Palace

Further Reading: 6 Things You Don’t Know about Leonardo da Vinci

A sketch of Leonardo, the head of a youth, and a horse's legs, ca. 1517–18. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2019.


One of the best known prizes for visual arts in the world, Turner Prize 2019 is coming to Turner Contemporary.

Every other year, the prize leaves Tate Britain and is presented at a venue outside London. Four of the most exciting artists working right now are shortlisted to win the prize based on an outstanding exhibition that has taken place in the previous year.

This year’s shortlisted artists, are:


For his solo exhibition Earwitness Theatre at Chisenhale, and for the video installation Walled Unwalled and performance After SFX at Tate Modern, London. Self-proclaimed ‘private ear’, Abu Hamdan’s work investigates crimes that have been heard and not seen; exploring the processes of reconstruction, the complexity of memory and language as well as the urgency of human rights and advocacy. The jury was struck by Abu Hamdan’s exploration of sound as an architectural element and the way he recreates particular situations through sound and performance.


For her solo exhibition The Long Note at Void, Derry~Londonderry and IMMA, Dublin. The jury praised the timely and urgent quality of Cammock’s work which explores social histories through film, photography, print, text and performance. Creating layered narratives that allow for the cyclical nature of history to be revealed, The Long Note looks at the history and the role of women in the civil rights movement in Derry Londonderry. The work highlights how the complexities of the politics of Northern Ireland have overshadowed the social history of the region and the variety of political positions taken by women during that time.


For his participation in the 10th Berlin Biennale, his solo exhibition Violent Amnesia at Kettle’s Yard, Cambridge and solo exhibition at the chi K11 art museum Shanghai. The jury particularly praised the way Murillo pushes the boundaries of materials, particularly in his paintings. His work incorporates a variety of techniques and media including painting, drawing, performance, sculpture and sound, often using recycled materials and fragments from his studio. Murillo’s work reflects on his own experience of displacement and the social fallout of globalisation.


For her participation in Glasgow International 2018, solo exhibition DC: Semiramis at The Tetley, Leeds and participation in Still I Rise: Feminisms, Gender, Resistance at Nottingham Contemporary and the De Le Warr Pavilion, Bexhill-on-Sea. The jury noted the compelling nature of Shani’s ongoing project Dark Continent, particularly the work’s ability to combine historical texts with contemporary references and issues. Developed over four years, it takes inspiration from a 15th century feminist text, Christine de Pizan’s The Book of the City of Ladies. Shani uses theatrical installations, performances and films to create her own allegorical city of women populated by fantastical characters, transporting the viewer to another time and place.

The work of the four shortlisted artists will feature in the exhibition at Turner Contemporary and the winner will be announced at a major awards ceremony on 3 December 2019 live on the BBC, the broadcast partner for the Turner Prize.

With a 1hr 27m high speed train link from London St Pancras to Margate, Turner Contemporary is closer to the capital than any previous Turner Prize venue outside of London.

Entry to Turner Prize 2019 will be free.

The Turner Prize is named after J.M.W. Turner (1775-1851) who was an innovative and controversial artist in his day, is now seen as one of the greatest British artists, and expressed a wish to establish a prize for young artists. Turner Contemporary is named after the artist for similar reasons; our work is inspired by Turner’s innovative and radical approach to art.

The members of the Turner Prize 2019 jury are Alessio Antoniolli, Director, Gasworks & Triangle Network; Elvira Dyangani Ose, Director of The Showroom Gallery and Lecturer in Visual Cultures at Goldsmiths; Victoria Pomery, Director, Turner Contemporary, Margate and Charlie Porter, writer. The jury is chaired by Alex Farquharson, Director of Tate Britain.

Turner Prize 2019 is supported by BNP Paribas and Canterbury Christ Church University, with additional funding from Kent County Council.

Salma Tuqan, deputy director of Delfina Foundation brings together some amazing minds for a series of talks for ART-O-RAMA (31st Aug, 1st sep) & Contemporary Istanbul (12th sep) around the concept of The Mediterranean as a mindset
We are honored to be part of the Contemporary Istanbul series:
‘Agricultural entanglements’ Contemporary Istanbul ??
Thurs 12 September, 12:00-12:45‬
Sveva D’Antonio, Director of Collezione Taurisano leads a conversation between architect and researcher Andrea Bagnato and artist Jumana Manna on the landscape transformation of the Mediterranean following technopolitical experiments, including policies of land draining, synthetic insecticides and engineered seed harvests. The discussion explores how, as a result, the Mediterranean can be an ideal site to understand modernity – from the US-funded DDT spraying in Egypt, to networks of seed archiving in the aftermath of the Syrian Revolution and yet, how the land can propose opportunities for the revival of dismissed forms of knowledge.